Tracklist
A1 | How Do You Speak To An Angel | 4:08 | |
A2 | My Old Man | 3:15 | |
A3 | Keep Away | 3:31 | |
A4 | Growing Up In Public | 3:00 | |
A5 | Standing On Ceremony | 3:32 | |
B1 | So Alone | 4:05 | |
B2 | Love Is Here To Stay | 3:10 | |
B3 | The Power Of Positive Drinking | 2:13 | |
B4 | Smiles | 2:44 | |
B5 | Think It Over | 3:25 | |
B6 | Teach The Gifted Children | 3:20 |
Companies, etc.
- Phonographic Copyright ℗ – Arista Records, Inc.
- Copyright © – Arista Records, Inc.
- Manufactured By – Arista Records, Inc.
- Produced For – Sister Ray Enterprises Inc
- Recorded At – AIR Studios, Montserrat
- Mixed At – Electric Lady Studios
- Mastered At – Sterling Sound
- Lacquer Cut At – Sterling Sound
- Mastered At – Columbia Records Pressing Plant, Santa Maria
- Pressed By – Columbia Records Pressing Plant, Terre Haute
- Copyright © – Metal Machine Music (2)
Credits
- Backing Vocals [Background Vocals] – Stuart Heinrich
- Bass – Ellard Boles
- Design – Howard Fritzson
- Drums – Michael Suchorsky
- Engineer – Corky Stasiak
- Engineer [Assistant, Mixed] – Steve Catania
- Engineer [Assistant, Recorded] – Anthony George*
- Guitar – Stuart Heinrich
- Keyboards – Michael Fonfara
- Lacquer Cut By – GC*
- Mastered By – Greg Calbi
- Mixed By – Michael Fonfara
- Photography By [Photos] – Mick Rock
- Producer – Michael Fonfara
- Songwriter [All Songs Written By] – Michael Fonfara
- Vocals – Lou Reed
Notes
"SX" and "SXT" etched in runouts denotes Columbia Records Pressing Plant, Santa Maria, mastering. Remainder of runouts etched, mastering stamped.
Issued with printed inner sleeve with lyrics and credits.
Produced for Sister Ray Enterprises, Inc.
Recorded at Air Studios, Montserrat
Mixed at Electric Lady Studios, New York City
Mastered at Sterling Sound, New York City
All songs © 1980 Metal Machine Music (BMI).
℗ & © 1980 Arista Records, Inc.
Issued with printed inner sleeve with lyrics and credits.
Produced for Sister Ray Enterprises, Inc.
Recorded at Air Studios, Montserrat
Mixed at Electric Lady Studios, New York City
Mastered at Sterling Sound, New York City
All songs © 1980 Metal Machine Music (BMI).
℗ & © 1980 Arista Records, Inc.
Barcode and Other Identifiers
- Rights Society: BMI
- Other (Inner sleeve): AL 9522
- Matrix / Runout (Side A label): AL 9522 SA
- Matrix / Runout (Side B label): AL 9522 SB
- Matrix / Runout (Side A runout, variant 1): AL A̶S̶ 9522-SA-CS4 15 SXT STERLING
- Matrix / Runout (Side B runout, variant 1): AL A̶S̶ 9522-SB-CS2 SXT STERLING GC 15
- Matrix / Runout (Side A runout, variant 2): AL A̶S̶ 9522-SA-CS4 15 C2 STERLING SXT 1S
- Matrix / Runout (Side B runout, variant 2): AL A̶S̶ 9522-SB-CS2 SXT 1B STERLING GC 1S
- Matrix / Runout (Side A runout, variant 3): AL 9522·SA-CS6 SXT STERLING L5
- Matrix / Runout (Side B runout, variant 3): AL A̶S̶ 9522-SB-CS2 SXT STERLING gc L5
- Matrix / Runout (Side A runout, variant 4): AL 9522-SA-CS5 SX AB STERLING 1S
- Matrix / Runout (Side B runout, variant 4): AL A̶S̶ 9522-SB-CS2 SXT B4 STERLING GC 1S
Other Versions (5 of 58)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
|
Growing Up In Public (LP, Album) | Arista | 202.120, 202 120 | Netherlands | 1980 | ||
New Submission
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Growing Up In Public (LP, Album, Stereo) | Arista | SPART 1131 | UK | 1980 | ||
New Submission
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Growing Up In Public (LP, Album, Promo) | Arista | 25RS-90, AL-9522-SA | Japan | 1980 | ||
New Submission
|
Growing Up In Public (LP, Album) | Arista | AL 9522 | New Zealand | 1980 | ||
Recently Edited
|
Growing Up In Public (LP, Album, Stereo) | Arista | 202 120 | 1980 |
Recommendations
Reviews
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I wouldn’t say you are wrong, but I beg to disagree. The production is weird. Very unclear which musical vision was the guideline here. But I find the lyrics about his father and the singing very dedicated. I love the album with all it’s shortcomings.
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This is a weird album--a snapshot of one of those rare moments in time when Lou Reed simply had nothing to say. Contractually obligated to crank out another album, he wrote a cycle of odd, largely fictitious lyrics about the lingering conflict between an adult male and his parents, pairing those songs with a few halfhearted valentines to his new wife Sylvia. Like I said, it's a weird album. You can tell that Lou was unhappy with the end result, because when he returned two years later with "The Blue Mask" (a career highpoint), he had completely overhauled his approach both musically and lyrically.
First-rate guitarist Chuck Hammer is wasted, since Lou himself handled the album's one memorable lead break (on 'My Old Man,' which also happens to be the only song on which some authentic human feeling is evident). Too bad. "Growing Up in Public" is listenable, but not especially likable.
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Recently Edited
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